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Final Summary: Stop Motion

Stop motion has been something I was looking forward to since the start of uni; the medium is so different to anything else and creates such an interesting outcome if it is successful. We started with the ball bounce, then we did the picking up the box, and then we did the change in emotion walk. I think my favourite out of the three was probably the picking up the box. I spent a lot of time on this and thought it turned out well! It is definitely something that I will hopefully improve with practice but I am really enjoying it so far and think I will do it for next module instead of CG. I like the way you can simultaneously make it kind of creepy but it also has a childlike feel to it that makes it nostalgic. I am not completely happy with the change of emotion walk, but this is something I would have spent more time on if the project was longer. 

#stopmotion

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Final Summary: Narrative Research

I was very much looking forward to this unit as I prefer the aspect of storytelling to anything else, and that is mostly why I chose this course. From the early lectures learning about traditional fairytales and then on to traditional narrative structure by Propp and Todorov, I feel as though I have a lot more knowledge surrounding the subject now that I can apply to my animation in the future. It ‘s strange because I was pretty much set from early on what I wanted to write about in my essay, I wanted to focus on Tangled; this is a disney film that is a twist on Rapunzel. Some aspects of the narrative are the same but some completely deviate from the original tale. I also just love the film and know quite a lot about it so I thought it would be an interesting one to do. 

However it was a couple of weeks ago now that I watched firstly Paprika, then Perfect blue by the same director Satoshi Kon. I found the films so fascinating and not like any animated film I had seen before, especially in terms of narrative. I started researching around both him as a director and why he uses the techniques he does and some of the themes in the film Perfect blue, and found myself already planning the essay. I think it turned out well, and I took on the helpful advice from Lynsey and I feel like I am happy with it now. Although I pretty much did it in the last week, I am actually quite pleased. But if I had more time I would probably structure it better, eg not putting a large quote in the conclusion. 

#narrativeresearch

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Final Reflection: Animated Sketchbook

Animated Sketchbook: 

I was really excited upon starting this project as I think we had more freedom in what we animated than the last unit. As I planned out all 3 of them I was actually really excited to go back to uni and get going with it but it was a slow start for me; I don’t think I was out of the comforts of Christmas yet, so I think it took a while to get back to being motivated and on top of things. I started my facial animation first which didn’t go too well as my drawings made my face look slightly distorted and weird. I don’t think there was any other choice than to just start again, which I am really glad about. Upon hearing feedback I think this was definitely the right choice. My flour sack one turned out alright in the roughs actually but I decided I wanted to change the one on the right to something that would show the principles more so I made it jump up and catch the ball, then come down again instead of being flung off screen. 

I am pleased with my progress and feel so comfortable with the software of tv paint which is a really nice feeling. I think I still need to work on time management as I left the ballerina one till quite late, which is weird because I actually prefer this one to the flour sack. Overall there are definitely way I could improve but I tried so hard and hope to get better in the future. 

#animatedsketchbook

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Final Essay Draft

'Only available in animation'. To what extent does this Paul Wells quote apply to 'Perfect Blue', directed by Satoshi Kon? Explain how the medium and materials shape and define the narrative. If your chosen film subverts or ignores conventional expectations of a plotted narrative, identify the strategies employed in it's place.

The work of Satoshi Kon famously explores a relationship between dreams and a subjective reality, constantly provoking the audience to question whether what is happening in a scene is actually happening. Through the medium of 2D animation, Kon creates a fragmented and unconventional narrative that breaks boundaries and scrutinizes Japanese culture for both its moral values and treatment of women. His debut 'Perfect Blue' (Perfect Blue) was released in 1997; following a young and conventionally beautiful girl Mima as the former 'pop idol' protagonist, the audience watch as her mental health deteriorates. As the film progresses, it is ambiguous to both Mima and the audience as to what is real. The combination of hyper-realistic artwork and quick, dreamlike editing in 'Perfect Blue' create a juxtaposition that questions the distortion of subjectivity; subverting conventions of both a plotted narrative and expectations of Japanese anime, this film is 'only available in animation'.(Paul Wells)

Todorov(Todorov, 1969)explains narrative to be 'two moments of equilibrium, similar and different, are separated by a period of imbalance'. His observations about narrative revolve around a disruption of the equilibrium, a realisation that this has occured, and consequently a restoration of harmony and return of equilibrium. Despite 'Perfect Blue' being slightly unconventional in terms of editing and pacing, you could argue that in order to be enjoyable any film must follow some kind of narrative structure and convey a change. John Yorke( J Yorke, 2014) described this as 'three dimensional storytelling' in which 'the character goes on a journey to overcome their flaw', shown within the psychological journey of Mima trying to distinguish dream from reality and lead a normal life. This journey starts at the beginning of the film with a successful example of 'equilibrium'(Todorov, 1969) . Mima is on stage with her Pop Idol group 'Cham'; colours are bright and vivid and close ups are shown of her loyal and adoring fans. The disruption of the equilibrium is revealed not soon after as she discovers a fan page that details her every movement, Mima initally finds this amusing, but this is where her seemingly perfect life goes spiralling out of control; this is re-enforced she sees her reflection in the window of the train and its not herself, but the old 'Pop Idol Mima'. You could argue that the restoration of the equilibrium is at the end as Mima tries to kill Rumi, after this she is able to regain her old self and carry on her life the way she was meant to; however the ambiguity of the ending makes it hard to tell whether the equilibrium has actually been restored, or whether this is just another delusion of Mima. Throughout the narrative, Satoshi Kon uses jump cuts and quick transitions to blur the lines between reality and dreams, therefore the ending is subjective to the spectator.

Kon subtly challenges the structure of a traditional story by making it ambiguous as to what is reality; the conformation to Todorovs theory(Todorov, 1969) of the equilibrium could also be a comment by Kon concerning the obesession with the physical beauty of female celebrities in Japanese culture. The 'equilibrium' at the beginning of the film, revealing Mima to be an idealised and perfected woman is mocking celebrity culture in Japan and revealing the 'male gaze'(1973). First established by Laura Mulvey, the male gaze states that women are simultaneously 'looked at and displayed'. This is evident as Cham are performing, flawless skin and matching outfits make the girls seem more like dolls than real women; this is re-enforced by the slow and controlled filming similar to that of a music video, further making them seem dream like and ethereal. This is even more poignant in animation as the appearance of the girls can literally be perfect, a visual embodiment of the perfect image they are expected to be in real life. The societal pressures of Idols in Japan to conform to beauty standards can also be seen in the dichotomy between Rumi and Mima; Mima is animated smoothly along arcs, making her seem graceful and elegant in comparison to the movement of Rumi, moving in rigid and frantic. The 'restoration of equilibrium'(Todorov, 1969) at the end of the narrative also shows Rumi in a mental hospital, and traditionally beautiful Mima able to live her life in peace. The use of narrative structure here could be a way of Kon highlighting the flaw of vanity in Japanese society, and mocking this by hinting you can only have a 'happy ending' if you are young and physically attractive.

One of the most important themes explored by Satoshi Kon is the subjectivity of reality, and the blurred lines between what we experience and what is objectively 'real'. Kon himself has stated that “For an outsider, the dreams and the film within a film are easy to separate from the real world. But for the person who is experiencing them, everything is real”(Mes). The confusion and disorientation that the audience feel when watching 'Perfect Blue' is reminiscent of Mima's mental state; therefore us as the spectator are experiencing disorientation with her. Unlike other films that explore dreams in a way that separates them from real life with slow fades or dream-like filters, Kon intertwines them with reality, building up to a dizzy crescendo until Mima is back in her room again. The repetition of the visual image of Mimas room as she supposedly snaps back to reality each time could be a visual cue to the audience concerning her mental state; the mise en scene of rubbish in her room and the lighting that decreases as time goes on, reveals her bleak outlook of hope that Mima now fears for her future.  The repetition shown here is what Freud has described as 'involuntary repetition', creating a nightmare like loop in Mima's life. The narrative is essentially shaped by the perspective of Mima and therefore appears fragmented and unconventional as Mima starts to question what is real. Andrew Osmond(Osmond, 2009) has commented that Kons films present a ''fractured, multifaceted world in which everyone has their own different reality.'' The intertwining of reality and delusion through skillfully placed jump cuts, and unrealistically short scenes later on emphasising Mima's paranoia and could be likened to the ''sense of helplessness experienced in dream states’, as described by Freud in 'The Uncanny'(Freud, S 1919). The questionnable narrative as created by Kon strays away from a linear structure, but for the purpose as to illustrate the deteriorating mental health of Mima. 

Despite the apparent lack of locial narrative structure, Kon uses a strong visual and intense use of colour to highlight the emotions, show character progression and reflect key points in the narrative. Many aspects of this film echoe that of live action, the hyper realistic settings and attention to detail; however it is the symbolic and unnatural use of red that would only be possible in anime that allow Satoshi Kon to create a visual narrative. The first time the audience are introduced to the colour of red is as Mima is looking at the blog of 'Mima-rin' for the first time; the colour engulfes the screen and demands more attention than the neutral colours of Mima's face. This immediately foreshadows the danger that will come from this seemingly innocent fan website, but also establishes a theme that will run throughout of the loss of innocence that Mima experiences. This transition is displayed in the rape scene, as it takes place with a vivid red backdrop accompanied by the red accessories Mima is wearing, mirroring the pink accessories shown in the first few scenes as she performs with 'Cham'. In an interview, Kon has stated that ''The scene is her death as an idol''(Mes). This visual transition from pink to red illustrates the loss of Mima's innocence and violation from the expoitative Japanese pop idol industry, serving as a condemnation from Kon regarding the debasement of women in Japanese society. While symbolising Mima's loss of identity and innocence, the use of red also serves as a way to add further ambiguity surrounding the ending. Being used as a signifier of Mima's deteriorating mental health as the use of red increases throughout the narrative, the red colour of the car she gets in to at the ending of the film forces the audience to question whether this is another signifier that the 'happy ending' that we see for Mima, is purely delusion. Through anime, the hyperbolic and surreal use of colour illustrates a decay in the mental state of Mima; therefore strong visual cues that anticipate an 'emotional catharsis' (Michael Lengsfield) as the audience follow her journey and reach a seemingly positive ending to her trauma at the ending. 

To a certain extent, Kon follows a traditional narrative structure as described by Todorov (Todorov, 1969) as a 'disruption and restoration of the equilibrium' as we follow the protagonist Mima as she battles against her own morality. Arguably a vague conformation to a traditional narrative structure is essential, however Kon also uses less conventional techniques to illustrate key themes and emotions throughout. The fast paced editing and disconcerting jump cuts emphasize a change in Mima while also creating a tense and sometimes uncomfortable atmosphere. Kon challenges the validity of a subjective reality through a visual decomposition of Mima's surroundings and the juxtaposition of movement shown by Rumi and Mima; the intense use of colour further highlights the key themes of sexuality and violence within the narrative and conveying the notion that ''animation possesses the capacity to create new modes of storytelling, often rejecting the notion of a plot with a beginning, a middle and end, in favour of symbolic or metaphoric effects” (wells 1998:68). Perfect blue establishes a strong visual narrative that is 'only available in animation'.

#narrativeresearch

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Final Animation: 

This is the outcome for the third in animated sketchbook. Initially I struggled to think of a concept for my third idea but when I did I got into it straight away which was good as I was really enjoying it. I struggled a bit with the hands as I didn’t want to add much detail there and focus more on the fluidity of the movement, but at first they looked a bit flappy and weird so I made them a different shape. I added a shadow on the ground to add depth and create a floor that I didn’t originally have. 

#animatedsketchbook animation ballerina

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Final Animation: 

This is my final animation for facial expression change. I put the background to pink just to make it more zesty and stand out more. Overall I think I am happy with the outcome but I would definitely refine it if I had more time, adding in more inbetweens and maybe re-thinking the timing? I like the way that the hair kind of jiggles in the wind, and the blink helps it look more realistic, but there are a few stutters that break the illusion which I will work on in the future. 

#animatedsketchbook

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Marking of my essay

(this is feedback) 

Hi Maisie,

A very nicely written & well argued essay with lots of analysis and sensible observations! I enjoyed reading it.

A few comments:

​​Given that this is a Japanese narrative is it logical to also include a statement or two addressing the fact that Eastern narratives have their own traditions? These may not always follow expected Western patterns. (As you find out in your analysis, with your interesting point about the film's ambiguous ending.)

Avoid occasional phrases where you write more like a fan than an objective observer, e.g. 'perfect example' ('successful example' is the more academic way to phrase it)

Cut the 'almost' when you say 'almost blur the lines between reality and dreams' & there's another extraneous use of 'almost' in a later paragraph: words like this dilute your meaning & make you sound a bit unsure

You could (when discussing Todorov) explain or discuss the possible reasons why stories tend to revolve around a disruption of equilibrium – firstly, because it makes them exciting! But, more importantly, because stories need to address change ​(week 5 presentation on the VLE has some John Yorke quotes about this, and you may well find evidence elsewhere).

The final thing (but a very important one!) is that you need to give Harvard citations whenever you quote or summarise someone else's work: e.g. Todorov, Mulvey, Freud. Where did you find this information? You need (author surname, year of publication/uploading) in brackets after the relevant bit of info in your essay – or (title, year) if no author or in the case of a film. This can then be cross-referenced with the full reference in your bibliography.

#narrativeresearch

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Massive Failure

So I thought I would post this on here just to demonstrate how much I struggle with maya, and also because its slightly funny (retrospectively). I actually spent quite a bit of time on this which was why it was a bit frustrating. I asked the tutor for help but I had messed up so incredibly badly that there was apparently no going back. So I am left with this, perhaps motivation to do better? But definitely a symbol of my struggle with cg. 

#CGanimation

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Ball Bounce

This week I also re-did some of the ball bounces as I didn’t think the first one turned out too well! This one squishes more as it hits the floor and bounces back up normally. 

#stopmotion

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Change in emotion walk:

This week I did a change in emotion through a stop motion walk. Again, I used the armature that was magnetic, which I am discovering I much prefer to the other ones. I planned the walk to start off being quite creepy and sneaky as if they had an evil plan, but then maybe they were caught by someone and had to walk off as if nothing had happened. If this were in a movie with a real character it would probably be a pick pocket from the 1900′s wearing a baker boy hat and whistling nonchalantly as he walks away from the scene of the crime. 

I like the creeping part of the walk as it is exaggerated and over the top but I think I could work on making it slightly slower. I always forget that stop motion goes really quickly when you play it and I should add more frames where a pause is necessary. 

#stopmotion

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Final Animation

This is the final version of my flour sack animation, I think I am happy with it mostly but if i had more time I would work on the timing of it a bit more to make it look more realistic. I added some flowers at the end to jazz it up a bit as the colours and lines are very simplistic. 

#animatedsketchbook

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CG Walk Cycle

In this workshop we were looking at walk cycles. We were given a simple model and had to move the limbs. Initially It was just a basic walk cycle that we have learned in the previous unit but after I added some detail to it such as the wobble of the glasses which I think has given it a bit more of a personality. 

#CGanimation

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Essay Introduction

I have written the introduction to my essay which I will send of to Lynsey to get feedback. 

‘Only available in animation’. To what extent does this Paul Wells quote apply to 'Perfect Blue’, directed by Satoshi Kon?

Explain how the medium and materials shape and define the narrative. If your chosen film subverts or ignores conventional expectations of a plotted narrative, identify the strategies employed in its place.

The work of Satoshi Kon famously explores a relationship between dreams and a subjective reality, constantly provoking the audience to question whether what is happening in a scene is actually happening. Through the medium of 2D animation, Kon creates a fragmented and unconventional narrative that breaks boundaries and scrutinizes Japanese culture for both its moral values and treatment of women. His debut 'Perfect Blue’ was released in 1997; following a young and conventionally beautiful girl Mima as the former 'pop idol’ protagonist, the audience watch as her mental health deteriorates. As the film progresses, it is ambiguous to both Mima and the audience as to what is real. The combination of hyper-realistic artwork and quick, dreamlike editing in 'Perfect Blue’ create a juxtaposition that questions the distortion of subjectivity; subverting conventions of both a plotted narrative and expectations of Japanese anime, this film is 'only available in animation’.

#narrativeresearch

[maisiemanneringba1b]

#lifedrawing

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Week 7 Summary: Animated Sketchbook

This week I was mostly working on my facial animation, I think it has come a long way from the initial rough drawing. I starting animating it but it just looked awful; I think this is because I wasn’t careful enough with my lines in the tie down stage. This was kind of annoying because I had spent quite a lot of time on it. But I decided to do it again. This version runs way more smooth as I made the face more consistent, before it looked like I was morphing into another person which wasn’t good.

Next week I need to do a tie down of the flour sack animation and work on the sack on the right, I am changing the position from being flown off of screen, to just jumping and catching the ball. I also need to neaten up my ballerina animation by doing the tie down layer. I am pleased at how they are all going though! 

#animatedsketchbook

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Week 7 Summary: Narrative Research

This week was a turning point in regards to my essay because I think I have changed my mind in terms of what I want to do. I had my tutorial with Lynsey which I thought went quite well and I got some really helpful resources to use in my previous essay. However when I went to actually plan out what I was going to write I did not feel any sort of excitement or anything that I usually feel if an essay is going to be good. This is exactly what happened with my film studies A level, I changed my mind but I am so glad I did because it turned out so much better than the last one. 

I have been researching around some of the themes in Perfect blue that I mentioned earlier such as dreams vs reality; I found some theorys by Carl Jung and Sigmund Freud which were really interesting. I love the way that simply by chopping and changing small parts about a narrative you can create a whole new atmosphere that is totally surreal.

#narrativeresearch

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Week 7 Summary: CG animation

I admire so many films that use CG animation which is why I think I was a bit disheartened when I kept messing up using maya. But I need to remember that everything takes time and I will improve if I just keep practicing. This week I felt slightly more comfortable with the software as I found myself experimenting and using the controls with more ease which was good but I definitely need more practice. 

This animation of the ball hitting the block didn’t actually go too badly, I followed instructions fairly well and even made the ball do a spin. I think I need to improve on the block falling over as I think it falls to slowly and looks a bit unrealistic. The balls bounce also just looks a bit floaty, I think I could work on the timing arcs of this to make sure it looks like its actually got some weight to it.

#CGanimation